This painter depicted a blue and beige-frocked woman holding an astrolabe in his Personification of Astrology. Two ships prepare to leave the shore and a bow-wielding Cupid flies over an unlit funeral pyre in his version of The Death of Dido. He painted a simple man physically pushing away a naked temptress in his version of Joseph and Potiphar's Wife. He isn't Poussin, but he did include a gigantic skull in the bottom right corner of his Et in Arcadia Ego, which joined The Flaying of Marsyas by Apollo in the Palazzo Pitti. He received commissions for The Flagellation of Christ and for the Duo
This painter depicted a blue and beige-frocked woman holding an astrolabe in his Personification of Astrology. Two ships prepare to leave the shore and a bow-wielding Cupid flies over an unlit funeral pyre in his version of The Death of Dido. He painted a simple man physically pushing away a naked temptress in his version of Joseph and Potiphar's Wife. He isn't Poussin, but he did include a gigantic skull in the bottom right corner of his Et in Arcadia Ego, which joined The Flaying of Marsyas by Apollo in the Palazzo Pitti. He received commissions for The Flagellation of Christ and for the Duomo of Piacenza, both of which were secondary in accomplishment to a work noted for its layered Baroque and Classical styles in the representations of Heaven and Earth. That work was originally for the St. (*) Peter's Basilica, which was fitting, because it depicts the martyrdom of St. Peter's daughter. For 10 points, identify this Italian painter of the Burial of St. Petronilla, nicknamed "the squinter" for being cross-eyed.
This painter depicted a blue and beige-frocked woman holding an astrolabe in his Personification of Astrology.
{Il Guercino} [or {Giovanni Francesco Barbieri}]